VOICE CHOICE

‘A masterclass in theatre practice. The audience is not watching a performance. The audience watches a character emerge and grow before our eyes. Saul Rubinek is a class act not to be missed.”

Thank you, Canadian Stage, for allowing audiences to see another of our fine Canadian artists back in Toronto. Maev Beaty recently graced the Bluma Appel Theatre stage for her unforgettable work in ‘My Name is Lucy Barton.’

This time, it’s Saul Rubinek.

Currently being staged at Toronto's Berkeley Street Theatre, "Playing Shylock" is an adaptation of Vancouver playwright Mark Leiren-Young's 1996 play, "Shylock." The opening night performance serves as a masterclass in theatrical practice, skillfully led by Director Martin Kinch.

The plot revolves around a production of Shakespeare's "The Merchant of Venice," which is abruptly cancelled mid-performance due to public outcry over its antisemitic elements (one being Shylock's demand for the pound of flesh as collateral for the money loaned to the character Antonio).

The actor portraying Shylock learns of the cancellation during the intermission rather than at the performance's conclusion. Throughout Leiren-Young's engaging new work, the actor playing Shylock addresses the audience directly, reminiscent of a theatre talkback session that follows a show.

According to the Canadian Stage press release, the actor playing Shylock delivers a candid and passionate appeal about identity, public discourse and the theatre.

No argument from me on what Canadian Stage promises in its release. None.

Leiren-Young’s script masterfully engages the audience. The successful collaboration among the playwright, director, actor, and creative team demonstrates a strong sense of ownership. This collective commitment results in extraordinary authenticity that effortlessly captivates an audience and draws them into the story. One cannot help but get caught up in Leiren-Young’s cleverly adapted storyline.

I most certainly did.

For example, even though Canadian Stage has not included ‘The Merchant of Venice’ in this season’s lineup, I wondered if it had because I got caught up in what I was watching on stage. On the car ride home, my guest asked the same question.

What’s also intriguing about ‘Playing Shylock’?

Rubinek is not portraying an actor playing Shylock.

Instead, Rubinek removes that distance by playing himself. He takes on the role of Shylock, who learns that the play will be closing. Additionally, Rubinek mentions his director, Martin Kinch, by name and refers to Canadian Stage while breaking the fourth wall and speaking to the audience.

Clever, very clever indeed.

Shawn Kerwin’s exceptional set design, expertly illuminated by Steven Hawkins, effectively establishes the theatrical ambiance. At the center of the stage is the judge’s trial bench from ‘Merchant’. It serves as a focal point for the play’s courtroom. Suspended prominently above is a large crucifix, its tattered and shredded state contributing to the sombre tone of the environment.

The back wall poignantly reflects the horrors associated with the Second World War, as evidenced by the spray-painted word "JEW." This serves as a stark reminder of tragic world history. Additionally, the floor is strewn with remnants of bricks and fragmented wood, suggesting the aftermath of a bombing. This evocative visual composition invites the audience to deeply reflect on horrific historical events, thereby enhancing the overall impact of the theatrical experience.

Olivia Wheeler's sound designs create a powerful sense of realism, especially for theatre enthusiasts. Before the performance begins, bells ring to remind the audience to take their seats. I don’t want to spoil the surprise of an unexpected sound cue that occurs.

Saul Rubinek is magnificent as Shylock. His on-stage work is fearless, brave and bold.

The news ultimately settles that the play will be abruptly closed. Saul deals with that and removes his costume (an apt replication by designer Shawn Kerwin). He discusses how Shylock has historically been portrayed as a villain. This portrayal is complicated by the prevailing attitudes towards Jews during the era in which Shakespeare had written the play. Productions have often depicted Shylock—as he only appears in five scenes—either as a clown or as a victim, all while enduring the hostile attitudes of the Christians toward him. Additionally, Rubinek, being Jewish, faces unique challenges in taking on the role of Shylock.

Ultimately, 'Playing Shylock' examines ongoing questions about controversial elements in theatre concerning diversity in art, audience reactions, and critical responses from reviewers and bloggers.

What makes the play exceptional is Saul Rubinek’s ‘stop-the-presses’ solo work on this opening night.

Under Martin Kinch’s observant and attentive direction, Rubinek doesn’t perform Shylock. The audience does not watch a performance of Shylock.

Rubinek is Shylock. He becomes Shylock.

That’s the difference right there.

Rubinek becomes jaw-droppingly magnificent to watch, hear, and listen in his theatrical process of becoming Shylock.

Final Comments: There are moments where I held my breath as I was watching an artist in action. Rubinek’s deliveries of Shylock’s speeches are alone worth the price of admission.

The piece de resistance for me and what makes ‘Playing Shylock’ a VOICE CHOICE?

His delivery of ‘Hath Not a Jew’ from ‘The Merchant of Venice’ in Yiddish. Again, Rubinek is a true artist in action, doing what he loves to do.

Please go and see ‘Playing Shylock.’

Running time: approximately 90 minutes with no intermission/interval.

‘Playing Shylock’ runs until December 1 at the Berkeley Street Theatre, 26 Berkeley Street, Toronto. For tickets: canadianstage.com or call (416) 368-3110.

PLAYING SHYLOCK by Mark Leiren-Young
Directed by Martin Kinch
Set and Costume Designer: Shawn Kerwin
Sound Designer: Olivia Wheeler
Lighting Designer: Steven Hawkins
Script Consultant: Rachel Ditor
Stage Manager: Neha Ross

Performer: Saul Rubinek